Tag Archives: John Logan

Monday, March 17, 2014

Barbra Streisand on Bette Midler’s performance as Sue Mengers

Los Angeles Times Barbra Streisand on Bette Midler‘s performance as Sue Mengers By David Ng December 23, 2013, 11:41 a.m. 3-17-2012-9-15-27-PM The recent Los Angeles run of “I’ll Eat You Last,” starring Bette Midler as the late talent agent Sue Mengers, drew a fair number of Hollywood stars to the Geffen Playhouse — some of whom actually knew Mengers during her heyday in the ’70s as a Tinseltown power broker. Among the most notable faces in the Geffen audience was Barbra Streisand, who was one of Mengers’ most important clients and is a key point of reference in the play. Streisand attended a recent performance of “I’ll Eat You Last” with her husband, James Brolin, according to the actress-singer’s publicist. Streisand was a client of Mengers for more than a decade, developing a close relationship with the agent. When asked for a reaction to the play, Streisand sent the following comment via her publicist: “It was a wonderful performance. Bette made me laugh in the same way that Sue did and she touched my heart as Sue did. It isn’t the whole story of course. Some of the facts are not true, but it was a very enjoyable evening.” In the play Mengers is depicted as waiting for a call from Streisand, who has just dropped her as her agent. In real life, Streisand left Mengers in 1981 as the agent’s popularity in Hollywood was dwindling. On Twitter, Midler wrote: “Barbra Streisand came to the show! And she liked it!! I was so thrilled. AND relieved!!” “I’ll Eat You Last,” written by John Logan, was first performed on Broadway earlier this year at the Booth Theater. Its run at the Geffen ended Sunday.
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Thursday, May 30, 2013

Midler’s Show Turns Profit After A Mere Eight Weeks

New York Times May 30, 2013, 12:29 pm Who Needs a Tony Nomination? Midler’s One-Woman Show Pays Off By PATRICK HEALY 390399_232387013501610_221327031274275_567053_162822468_n Bette Midler may have been passed over for a Tony Award nomination for her Broadway play, “I’ll Eat You Last,” but there is no denying that she has become a box-office powerhouse this season. Her one-woman comedy, written by the Tony winner John Logan (“Red”) about the 1970s Hollywood super-agent Sue Mengers, has recouped its $2.4 million capitalization after eight weeks of performances, the show’s producers announced on Thursday. Ms. Midler joins the ranks of Broadway superstars like Tom Hanks and Denzel Washington who were also in shows that turned a profit in eight weeks – Mr. Hanks’s $3.6 million play “Lucky Guy,” which runs through July 3, and Mr. Washington’s $2.8 million revival of “Fences” in 2010. Ms. Midler drew critical acclaim for her performance but was squeezed out of the best actress Tony category, which had many strong contenders for five slots. (The Tony ceremony is June 9.) “I’ll Eat You Last,” directed by Joe Mantello, is scheduled to close June 30. Only about 25 percent of Broadway shows ever turn a profit, one of several reasons why producers increasingly seek bankable names like Ms. Midler and offer them favorable terms, like a cut of box-office profits and limited runs (in her case, a 13-week engagement).
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Tuesday, May 28, 2013

The Bette Midler Jukebox June Edition Is Up And Running

    AOB019   The Bette Midler Jukebox June Edition Is Up And Running: Click Here
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Saturday, May 11, 2013

Interview: Bette Midler On “I’ll Eat You Last”

Playbill Eat, Prey, Love: Bette Midler Returns to Broadway in I’ll Eat You Last By Brandon Voss 11 May 2013
Photo: Bruce Glikas

Photo: Bruce Glikas

The Divine Miss M is presently holding court through June 30 at the Booth Theatre, but in this case that “M” refers to two divas, Bette Midler and Sue Mengers. Returning to a Broadway stage for the first time in more than 30 years, Midler stars as the late showbiz “superagent” in I’ll Eat You Last: A Chat With Sue Mengers, a biographical solo play penned by John Logan and directed by Joe Mantello. The award-winning performer recently chatted with Playbill about honoring Hollywood’s ultimate hostess. You’ve performed all over the world, but your roots are in New York theatre. How does it feel to be back on Broadway? I can’t say it feels like coming home because it actually feels like a brand new adventure. I’ve never done a show like this where I sit and talk for an hour and a half without any music. It’s a huge challenge, but it’s very exciting. What does Broadway mean to you? Well, everything has changed since the last time I was here. But it’s full of life, vitality, and great endeavors by very talented people trying to make art. It’s the heart of the city. It’s irresistible.

In 1974 you won a special Tony Award for your contributions to Broadway, but you haven’t been back since Bette! Divine Madness, your third Broadway concert, in 1980. As far as non-concerts, you haven’t been back since you left Fiddler on the Roof, your 1967 Broadway debut. Why such a long absence? ...  Read More

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Friday, May 10, 2013

Theater Review: “…now that I’ve seen the show I’m even more surprised Midler wasn’t recognized by the Tonys.”

Huffington Post Theater: Brassy Bette Michael Giltz May 10, 2013 USA: 'I'll Eat You Last' Press Reception What a treat to see Bette Midler up close and personal in a one-woman show that suits her to a t. If you want to see the Divine Miss M dish a little dirt and have a little fun playing super-agent Sue Mengers — another larger than life personality — by all means do what you can to see I’ll Eat You Last. You won’t be disappointed. The play itself is a trifle by John Logan barely worth discussing. Mengers was a super agent of the old school, a brassy pioneering woman who broke her way into the business and loved, loved, loved every minute of it — cursing on the phone at a studio chief, wooing stars, hosting parties with all her twinklies (her nickname for celebs) and generally having a blast. Mengers was so unique she even enjoyed a profile on 60 Minutes. Here we see Mengers holding court on her couch hours before she’s to host another party. It’s the fateful day Barbra Streisand fired her longtime friend Mengers, a blow Mengers never really recovered from though she knew getting fired was always part of the game. It’s late afternoon and the sun slowly sets as Mengers tells her tale — from a chubby little German Jewish immigrant whose bravest act was to cross the school playground and talk to the popular girls to the would-be actress who found her calling by discovering the talent in others and selling it to directors and studios and the media. The set by Scott Pask is handsome and director Joe Mantello smartly works with Midler to develop a real performance when she might have just put her own brassy spin on well-worn anecdotes from Mengers’ career. But Midler is a Broadway baby who appeared in Fiddler On The Roof for three years as one of her early big breaks. She just sits on a couch but she also works hard to make each slump, each pause, each decision to lean forward or slip to the side actually be driven by the text. She might have coasted but instead Midler works hard and delivers soundly. I won’t quite say she was robbed since this season saw so many good female performances but now that I’ve seen the show I’m even more surprised she wasn’t recognized by the Tonys. As for the show? They got that one right by ignoring it. You get a fair amount of laughs but those all come courtesy of Mengers. The best anecdote revolves around actress Ali McGraw and how Mengers was actually human enough to recognize that some things are more important than a movie career. (A rare trait indeed, in Hollywood.) But the setting, the platitudes, the late afternoon to the dark of night time frame all feel by the numbers and obvious. Mengers was far more complicated and interesting than that. Logan scratches the surface and nothing more. Midler, happily, digs as deep as she can.
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Monday, May 6, 2013

Bette Midler’s “I’ll Eat You Last” Breaks Records, Attracts Crowds

Broadway.com Broadway Grosses: Bette Midler Breaks Box Office Record with I’ll Eat You Last News By Michael Mellini May 6, 2013 – 3:23PM 6a00d8341c730253ef01901b976a40970b-800wi Audiences are having a grand time as Bette Midler dishes Hollywood gossip from her couch at the Booth Theater where John Logan‘s new comedy I’ll Eat You Last: A Chat with Sue Mengers is packing in crowds. The show broke the theater’s house record earning $753,217 for a seven performance week. Another solo show however said farewell to Broadway as The Testament of Mary played its final performance. Here’s a look at who was on top and who was not for the week ending May 5: FRONTRUNNERS (By Gross) 1. The Lion King ($1,829,570) 2. The Book of Mormon ($1,691,752) 3. Wicked ($1,651,541) 4. Lucky Guy ($1,382,232) 5. Motown ($1,209,773) UNDERDOGS (By Gross) 5. Jekyll & Hyde ($398,919) 4. The Testament of Mary ($301,343) 3. The Assembled Parties ($295,099) 2. Ann ($258,424) ($261,380) 1. The Big Knife ($220,859) FRONTRUNNERS (By Capacity) 1. The Book of Mormon (102.63%) 2. I’ll Eat You Last: A Chat with Sue Mengers (101.77%)* 3. Motown (100.75%) 4. Lucky Guy (100.68%) 5. Matilda (99.99%) UNDERDOGS (By Capacity) 5. The Big Knife (61.23%) 4. Annie (60.63%) 3. Nice Work If You Can Get It (60.43%) 2. Jekyll & Hyde (42.83%) 1. Ann (39.86%) *Number based two seven regular performances. Data provided by the Broadway League
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Friday, May 3, 2013

Theater Review: Bette Midler delivers a live-wire impersonation

Beverly Hills Courier George Christy Talks About Bette Midler, Sue Mengers, John Logan’s I’ll Eat You Last, And More! May 3, 2013 USA: 'I'll Eat You Last' Press Reception A Hamburger she was. Her birthright. Hamburgers are natives of Hamburg, Germany. Immigrating to America, she didn’t lose time heading to Hollywood. Hired as a talent agency secretary, she manipulated herself into the upper ranks of agentdom. Our Hamburger was named Sue. In truth, a woman is a Hamburgerlin, but our Sue Mengers had the cojones of a bull. So Hamburger Sue it is. Her clients ranged from Barbra Streisand (who dropped her) to the O’Neals (Ryan and Tatum). She’s on Broadway now in the persona of Bette Midler in John Logan’s I’ll Eat You Last monologue that has critics falling over themselves. Manhattan thrives on Hollywood “dish.” The New York Times’ critic Charles Isherwood found Bette’s “dishy” evening a “delectable soufflé,” praising her portrayal of the caftan-clad Hamburger Sue. Her biting wit, rudeness and profanity knew no bounds, as we experienced personally and live to tell the tale. Will we ever forget her “before and after” phone calls, when we were writing our thrice-a-week column in the Hollywood Reporter. “Do me a favor,” she pleaded. “I know you’re invited to Jean Howard’s party for Diana Vreeland…” Diana being the then-fashion empress of Vogue magazine, now under the stewardship of media queen Anna Wintour. Before we delve into the nitty gritty, here’s a bit of back story. Former Ziegfeld girl Jean Howard became a companion to MGM tycoon Louis B. Mayer, wed agent Charlie Feldman, the lothario who repped Greta Garbo, Bogart, Bacall, and other supernovas. Charlie and Jean became hosts among hosts, and their soirees, long before our time, achieved legendhood. Word is that nothing compares with them today. Guests included the elusive Garbo, Judy Garland, Sammy Davis Jr., Fred Astaire laughing and boozing and singing through the hours. Jean’s candid photographs documented the frivolty and appear in her bestselling Jean Howard’s Hollywood. Jean’s invitation for the Diana Vreeland party (never only cocktails, always dinner), thrilled Hamburger Sue. Her first dinner at the art-filled estate on Coldwater Canyon. About that favor: would we ask our pal Jean to send an escort to pick her up for the party. For whatever reason, husband Jean-Claude Tramont was elsewhere. “Jean’s friendly with those handsome actors of all ages, and I’d love an escort to be young, blonde, blue-eyed and straight. Not asking too much, right?” she enthused over the telephone. May we mention that quote in our column when we write about the party? “I’d love it, be my guest.” Well, the party came and went. Another grand success for Jean and her gift for hostessing. A heady brew of new and famous Hollywood faces, literati (Gore Vidal), local society, and a sloshed Diana Vreeland, vodka being her drink of choice. Which we fetched twice (“thank you, dear boy”), others fetching more. We described the happy night in our “Great Life” column. On the morning of our published comments in the Hollywood Reporter, the phone rang. Shocked we were with the stream of vituperative language. Having served a three-year stint in Uncle Sam’s Army, we believed we’d heard it all. No way. Hamburger Sue topped our army buddies. A vulgarian to the max. “A-hole … how dare you … a-hole!” she blasted over the phone. Filth followed. “You are one stupid ********* Who are you anyway, you ********** Don’t you know Hollywood’s loaded with gay actors, a-hole, and I want some as clients?” Trying to calm her, reminding that she nonchalantly okayed us to be her “guest” about dropping the item in the Reporter. Aiming to convince her we didn’t hurt anyone, that the wisecrack was what it was, a wild screech of f-yous thundered in our ear. Not a reader complained. In fact, we were on the receiving end of compliments. From her agency colleagues, who howled. Also from a Big Kahuna of a major law firm. Remarking to the Big Kahuna that we regretted upsetting her so violently, he shrugged, “Get over it, she’ll smoke a couple of joints, and forget everything by midnight.” True, as it turned out, she was rarely without her weed. We glimpsed her next at Swifty and Mary Lazar’s inimitable Oscar night fete at Spago, greeting us with “Hello, darling!” Thanks to the Divine Miss M., she’s now immortalized. Absent nearly 40 years from the legitimate stage, Bette Midler delivers a live-wire impersonation in her limited run at Broadway’s Booth Theater. New Yorkers are adoring her, with plaudits for director Joe Mantello. Nonetheless, no nominations this week from the Tony Awards committee. Speaking of Broadway, our stringers, Jolene and George Schlatter, back from the Big Apple, report that both Berry Gordy’s Motown: The Musical, and Kinky Boots, the Harvey Fierstein/Cindy Lauper showstopper, “deliver your money’s worth!” Not to be missed.
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Wednesday, May 1, 2013

Fans Outraged By Tony Snubs Of Bette Midler, Alan Cumming, And Lilla Crawford

Broadway.com Tony Poll Top Three: Fans Outraged Alan Cumming, Lilla Crawford & Bette Midler Were Snubbed For Tony Nominations By Josh Ferri May 1, 2013 – 10:50AM image-(5) The 2013 Tony nominations were announced on April 30, and while fan favorites like Kinky Boots, Matilda and Cinderella were recognized with heaps of nominations, other well-loved shows and lauded performances received nothing but the cold shoulder. Broadway.com asked fans which 2013 Tony snub made them most mad. The results are in, and fans are rallying behind three Broadway.com Audience Choice nominees who were most definitely robbed on Tony nomination day. 1. Alan Cumming, Macbeth Previous Tony winner Alan Cumming is taking on the Bard all by himself in a solo production of Macbeth. Cumming never leaves the stage and he performs Shakespeare underwater, yet Tony nominators passed this amazing talent over for a Best Performance by Leading Actor in a Play nomination. Shame on you Tony’s! At least fans can make sure Alan takes home one award this season: the Broadway.com Audience Choice Award. Vote for Cumming for Favorite Actor in a Play or Favorite Diva Performance. 2. Lilla Crawford, Annie Adorable young headliner Lilla Crawford brings spunk, heart and one set of powerful pipes to James Lapine’s revival of Annie. The musical, surprisingly, only received one Tony nomination for Best Revival, leaving little Lilla out in the cold for Best Performance by a Leading Actress in a Musical. Excuse us Tony nominators, but four Matildas are getting a special Tony—where’s the love for the only Annie?! Fear not Lilla, there’s always “tomorrow” and the Audience Choice Awards. Vote for Crawford for Favorite Breakthrough Performance and Favorite Onstage Pair, with Sunny the Dog (Sandy). 3. Bette Midler, I’ll Eat You Last Bette Midler returns to Broadway after a 33-year absence in John Logan’s I’ll Eat You Last a Chat with Sue Mengers. Midler bravely chose to star in not only a new world premiere, but a world premiere solo play! For Midler’s acclaimed performance as Hollywood agent Sue Mengers, she’s been nominated for three Audience Choice Awards for Favorite Diva Performance, Favorite Actress in a Play and Favorite Funny Performance, yet somehow she was passed over for a Tony nomination for Best Performance by a Leading Actress in a Play. Sue Mengers would have some choice words for that, honeeeey. Thanks for voting!
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Theater Review: Midler hosts the most enjoyable party in town

Slant Holding Court: Bette Midler in I’ll Eat You Last BY JON MAGARIL ON APRIL 30, 2013  
Photo: Bruce Glikas

Photo: Bruce Glikas

  One of the distinguishing features of the dullish theater season has been the rise of the solo show. Last week alone, three opened on Broadway. Producers’ love for the genre makes sense: Running costs tend to be as low as it goes, and even when a one-person show doesn’t feature the best acting, it often has the most acting. And that can be enough to get a Tony. Done right, these shows take theater back to its magical roots, when a shaman would tell a story around a campfire. When they’re vanity projects built on such hoary devices as talking to off-stage characters or writing letters and reading them aloud, they can make theater feel like a dried-up old fossil. Fortunately, most of the ones currently running cast a dazzling spell. We’ve got Holland Taylor as a persuasive Ann Richards in the enjoyable Ann, her own play about the Texas governor; the one-of-a-kind Alan Cumming captivates in the strenuously inventive one-man Macbeth; Tristan Shurrock stars in his own story Mayday Mayday, about a Humpty Dumpty-like fall from a wall; the thoroughly charming Buyer & Cellar features Michael Urie as an out-of-work actor who gets a job working for Barbra Streisand; and Fiona Shaw stuns as the virgin mother in The Testament of Mary. The newest arrival turns out to be the tastiest treat of the season, I’ll Eat You Last. A muumuu-clad Bette Midler plays the biggest Hollywood mama of them all, Sue Mengers. The super-agent handled most everybody who was bigger than anybody in the ’70s, including Barbra Streisand. Appropriately, everyone on the play’s creative team is an A-lister as well. The writer is Tony-winning playwright and Oscar-nominated screenwriter John Logan, the director is two-time Tony-winner Joe Mantello, and Mengers’s famous Malibu spread is sumptuously suggested by design greats Scott Pask (set) and Hugh Vanstone (lights). The play, like most based on a real figure, is primarily cut and paste, but it’s all prime cuts. Logan has artfully assembled Mengers’s worldiest words of wisdom and kickiest quips along with the biographical basics, and he’s made good on the big decisions: when in the timeline does the play occur, who is she talking to, and what is she doing? He introduces us to Sue just after she’s been fired as Streisand’s rep through her lawyers. Mengers has requested a call from Babs herself. While waiting, Sue does her best to do as little as possible. She never leaves her cushy peach-colored couch, and when she needs a drink refilled or more pot, she has an audience member fetch it for her. Yes, there’s no pretense that we’re anything other than who we are, her audience. Logan has the terrific idea that she’s holding court, as her kingdom implodes around her. Under what other circumstances would she give the likes of un-famous us the time of day? These choices sidestep—or, rather, wholly avoid, as that implies too much action—the staginess that muck up so many one-person shows. Pretty much every one I saw growing up starred the queen of the genre, Julie Harris, coincidentally Mengers’s first client. In most, if I remember correctly, she spent a lot of time packing a trunk. Even with one of the greatest actresses in theater history, her directors and writers thought they needed a steady supply of frou-frou busy-ness to keep the audience’s interest from flagging. Instead, by following Mengers’s penchant for staying put, Logan’s play keeps things refreshingly simple. All the onus is on the performer’s presence and delivery. The divine Miss M is heaven-sent for tasks like this. The twinkle in her eye is its own electric grid, and the merest move of her foot from floor to cushion generates as much giddy delight as a Pippin acrobat’s flight through the air. Midler’s had experience letting her fingers do the walking, as her electric wheelchair-bound stage persona Delores DeLago proves. And as Sue, her fingers are a wonder, puffing on a joint with one hand and a cigarette with the other. Midler last played a role on stage 40 years ago, wending her way up at Fiddler on the Roof from a replacement villager to oldest daughter Tzeitel. She stayed for three years because she couldn’t find other work, until she created her own at the Continental Baths. The rest is decades of entertainment history. So she knows from whence Mengers speaks. As a recent German immigrant before the outbreak of World War II, the zaftig Mengers drilled the accent out of her voice so she could make a good impression on the most popular girl in her grade school. She fearlessly willed herself to “cross the playground” to introduce herself, and as a result, she made her first American friend. Then, as a young woman going up the ladder in the male-dominated talent-agency biz, she crossed the club floor to introduce herself to Streisand after one of her early appearances and made a connection that would help catapult both to the stratosphere. At the height of her career, she drove up to William Friedkin‘s house and blocked his car until the director agreed not to cast Charles Bronson as Popeye Doyle in The French Connection before meeting client Gene Hackman. Midler also doesn’t need to tamp down her star power to play Mengers. In Hollywood circles, she was as famous as the stars she represents. Multiple movie roles have been based on her, including Shelley Winters‘s poisoned-pen parody of her in Blake Edwards’s S.O.B.. Sue was more pleased by client Dyan Cannon’s loving send-up in the Herbert Ross-directed The Last of Sheila, which was written by another client, Anthony Perkins, and, in his only screenplay credit, Stephen Sondheim. And Elizabeth Taylor, in her final screen appearance, provided a sweet homage in the TV movie These Old Broads. One assumes Mengers would be happiest with the current incarnation. If Midler’s Sue isn’t all that different from another alter ego, Soph, it’s a sign of her suitability more than any lack of range. The performance gains nuance as we learn Mengers has made the cardinal mistake of mixing business with her most intimate relationships. She’s gotten Streisand to appear in All Night Long, starring Hackman and directed by Mengers’s own husband, Jean-Claude Tramont. When the film takes in less than Streisand’s record paycheck, Sue becomes the scapegoat. Hackman’s left her and a wave of others followed suit, including the biggest jewel in Mengers’s professional crown, Babs, who was also the maid of honor at her wedding to Tramont. Facing both a demotion in her place on the Hollywood totem pole and a feeling of abandonment, Sue’s willing to while away the hours teaching us how to handle stars: never lie to them; never tell them the truth; it’s about power, not the money, but get them more than anyone else gets; and it’s a jungle out there. And Mengers is too smart not to be surprised when discovering first hand, as she keeps waiting for that phone to ring, that even the most carnivorous cannibals eventually get eaten. This may not be the deepest dish. Logan smartly tempers expectations with his subtitle, A Chat with Sue Mengers. But if it’s not one for the ages, it’s funny and telling about the time “when the business was fun.” And that business is central to our cultural imagination. The only disappointment is Logan’s refusal to take a leap into areas that haven’t been documented. We learn little, for instance, about Mengers’s tempestuous, three-decade long marriage. With his playRed, Logan’s dialogue for painter Mark Rothko also kept mostly to the known facts. But it was the breakout role of a younger artist that allowed Eddie Redmayne to cut loose and win a Tony. Tellingly, the character was fictional. Is it possible that, when it comes to characters based on real people, a Hollywood player like Logan isn’t cannibal enough? Nonetheless, the production is a theatrical feast. Mantello’s creative team finds ways to keep pleasing the eye. Midler’s aqua caftan, by the legendary costume designer Ann Roth, glimmers in the light. Vanstone’s lights, evoking the reflection off her egg-shaped pool, built only to keep up appearances, shimmer ever more noticeably in the dying day. By the end, one could even take them for the shadow of flames. While all the elements have been cooked to perfection, what sticks to the ribs is the hint of rawness at its center of things. Perhaps the longest story is saved for Sue’s passionate attempt to convince Ali McGraw that sacrificing her career for husband Steve McQueen—in Sue’s eyes, an insecure bully and a fake—was a catastrophic mistake. But McGraw continues lovingly to do his bidding. Mengers conclusion is that the star’s “heart lied to her.” That’s Logan’s best piece of writing and it’s the special ingredient Midler uses to make a hearty meal of the material. Mengers has convinced herself that she’s never mistaken business for friendship. But by exposing shards of devastation over being fired by Streisand, Midler shows how Sue’s heart lied to her. The character finally resonates beyond the fun and the facts as she realizes her reign is over. Diminished but undaunted, Mengers continued to hold sway at her A-list-only soirees from her couch. Midler hosts the most enjoyable party in town for just a little while longer. Long live the queen.
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Tuesday, April 30, 2013

I’ll Eat You Last: More Photos From Last Night

Our friend, Dr. J Whitlatch, went to see Bette in I’ll Eat You Last last night and was kind enough to send us some photos. He had a divine night which was topped off by actually meeting Miss M herself…getting his Playbill signed.
Dr. J. Whitlatch

Dr. J. Whitlatch

To see more photos: Click Here
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